The Season of Justin Peck: With Four Upcoming World Premieres, a New Documentary and Even an iPad App, It's Official: Ballet's Most Exciting New Talent Has Arrived

By Carman, Joseph | Dance Magazine, September 2014 | Go to article overview

The Season of Justin Peck: With Four Upcoming World Premieres, a New Documentary and Even an iPad App, It's Official: Ballet's Most Exciting New Talent Has Arrived


Carman, Joseph, Dance Magazine


At first glance, Justin Peck, with his full-rim glasses and modest demeanor, resembles Clark Kent. What he's accomplished choreographically, however, seems more like Superman. At 26, the New York City Ballet soloist has already created 20 ballets, and the buzz about his talent has people equating his potential with the likes of Alexei Ratmansky and Christopher Wheeldon. Critics laud Peck's expert craftsmanship: the kaleidoscopic patterns, the layered musicality, the stylish linkage of steps and an almost freakishly uncommon ease in working with the corps de ballet.

"With Justin it wasn't difficult to see the raw gifts that he possessed right away," says NYCB ballet master in chief Peter Martins, who named Peck NYCB's resident choreographer this July. "It is my business to recognize talent when it emerges. What happens next is entirely up to him, but I am confident that it will be a very fruitful partnership."

What's next is Peck's biggest season yet: a September NYCB premiere to Cesar Franck's Untitled piece (Solo de piano), for piano accompanied by string quintet, Op. 10; a November Pacific Northwest Ballet premiere; a February 2015 NYCB premiere to Aaron Copland's iconic Rodeo (Peck's plan is to "strip it of theatrical features and do more of a dance and music piece"); a March premiere for Miami City Ballet featuring set design by street artist Shepard Fairey; and a revival of In Creases for the Joffrey Ballet in April. Filmmaker Jody Lee Lipes' documentary Ballet 422, which focuses on Peck's creation of Paz de la Jolla, has been picked up by Magnolia Films for nationwide release. And Peck's choreography is even featured in a new app called Passe-Partout that allows anyone with an iPad to remix his steps and create a ballet on their tablet.

Peck's success is all the more startling in that he only began studying ballet 13 years ago. While employed as a supernumerary in American Ballet Theatre's production of Giselle in San Diego, Peck was blown away by the dancers' athleticism and discipline, and immediately enrolled in classes at the California Ballet. He transferred to the School of American Ballet at 15, then joined the NYCB corps four years later. "Being exposed to all these genius abstract works by Balanchine and Robbins and other choreographers working today, I got a taste for the range of what a ballet could be. I started to think about what it would be like if I tried to make my own dances."

He participated in five sessions at the New York Choreographic Institute, an affiliate of NYCB. Martins asked him to expand one of his works for the company--and the October 2012 premiere of Year of the Rabbit, set to music by Sufjan Stevens, started the rabbit run of Peck's sudden career sprint. "It sort of put me on the map as a choreographer," says Peck. "It interested other ballet companies and I started to get a lot of offers."

Lourdes Lopez, artistic director of Miami City Ballet, has since commissioned two ballets from Peck--2013's Chutes and Ladders and the upcoming premiere. "I find him incredibly inventive," she says. "He's not derivative, although you might see a little Balanchine or a hint of Ratmansky. It looks like something you've never seen before." She particularly lauds his gift of comfortably embracing pointe work, and the way that he grants both the principals and the corps their own brilliance.

Peck's never been drawn to separating out the ranks. …

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